Superb impression, printed with considerable plate tone Ė the artistís own personal exhibition proof, aside from the only published edition of 50 proofs.

SOLD

The Little Egret 1907

Original etching.

Exceptionally strong impression, printed with considerable plate tone. The artistís own personal exhibition proof, aside from the published edition of only 12 proofs.

SOLD

Zebra Finches

Original aquatint, printed in colours.

Outstanding signed proof impression with fresh unfaded colours, from the only edition.

SOLD

The End of the Day (The Fowler)

Original aquatint, printed in colours; together with the original watercolour sketch for this aquatint.

Very good signed proof impression with fresh unfaded colours, from the only edition; together with the original watercolour sketch for this aquatint. It is rare to be able to offer both a finished print and the original watercolour upon which it was based as a pair.

The pair - SOLD

Having established herself as one of the foremost etchers of wildlife in England during the first two decades of the century, Winifred Austen turned increasingly towards the depiction of birds. It is likely that her choice of subject matter was largely dictated by commercial pressures, as although the collapse of the etching market in England had begun, in America the noted printmaker Frank W. Benson was experiencing considerable success with etchings of game birds. From around 1920 Winifred Austen began to use drypoint extensively and by the end of the decade almost all of her original prints were executed in pure drypoint, rather than etching.